Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Benin and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1971.
I'm losing my edge.
To all the kids in Halifax and Toronto.
I'm losing my edge to the art-school Lyon kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Mighty Diamonds to the punk kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Subhumans. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Soft Machine,
Echospace,
The Music Machine,
Rapeman,
Nation of Ulysses,
Soulsonic Force,
Lucky Dragons,
Warsaw,
E-Dancer,
Scion,
Sixth Finger,
Morten Harket,
Fatback Band,
R.M.O.,
Kerrie Biddell,
Dave Gahan,
Second Layer,
Ten City,
Outsiders,
Mission of Burma,
Fort Wilson Riot,
Unrelated Segments,
Black Sheep,
Public Image Ltd.,
Gerry Rafferty,
Bobby Byrd,
Jacques Brel,
Desert Stars,
The Sound,
The Cosmic Jokers,
Bobbi Humphrey,
The Evens,
New Age Steppers,
Bluetip,
Moby Grape,
Tropical Tobacco,
Eli Mardock,
DJ Sneak,
Mantronix,
Hot Snakes,
Sam Rivers,
Gang Gang Dance,
Fugazi,
The J.B.'s,
Johnny Clarke,
Louis and Bebe Barron,
EPMD,
Excepter,
Fad Gadget,
Loose Ends,
Matthew Halsall,
Magazine,
Aaron Thompson,
Technova,
The Fire Engines,
Index,
Porter Ricks,
Pussy Galore,
Pantytec,
Judy Mowatt,
Glenn Branca,
Accadde A,
Peter & Gordon,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.